DENISON'S ACTING PLAYS 

Partial List of Successful and Popular Plays. Large Cataloe;ue Free. 



DRAMAS, COMEDIES, 
ENTERTAINMENTS, Etc. 

M. r. 
Aaron Boggs, Freshman, 3 

acts, ZVi hrs (25c) 8 8 

Abbu San of Old Japan, 2 acts, 

1 hrs (25c) 13 

After the Game, 2 acts, 1 J4 

hrs. (25c) 1 9 

All a Mistake, 3 acts, 2 hrs. 

(25c) 4 4 

All for the Cause, 1 act, l!4 

hrs (25c) 10 

All on Account of Polly, 3 acts, 

2V4 hrs (25c) 6 10 

And Home Came Ted, 3 acts, 

2Vi, hrs (35c) 6 6 

Arizona Cowboy, 4 acts, 2J4. 

hrs ; (25c) 7 5 

As a Woman Thinketh, 3 acts, 

lYz hrs (25c) 9 7 

At the End of the Rainbow, 3 

acts, 214 hrs (25c) 6 14 

Boy Scout Hero, 2 acts, IJ^ hrs. 

(25c) 17 

Boy Scouts' Good Turn, 3 acts, 

MA hrs (25c) 16 2 

Brookdale Farm, 4 acts, 2;4 

hrs (25c) 7 3 

Brother Josiah, 3 acts, 2 hrs. 

(25c) 7 4 

Busy Liar, 3 acts, 2\i h. (2.tc) 7 4 
Call of the Colors, 2 acts, 1^ 

hrs (25c) 4 10 

Call of Wohelo, 3 acts, IM 

hrs (25c) 10 

Camouflage of Shirley, 3 acts, 

2-4 hrs (35c) 8 10 

Civil Service, 3 acts, 21/4 hrs. 

(25c) 6 5 

College Town, 3 acts, 2;4 

hrs (25c) 9 ,S 

Daughter . of the Desert, 4 

acts, 214 hrs (25c) 6 4 

Deacon Dulibs, 3 acts, 2^4 hrs. 

(25c) 5 5 

Deacon Kntangled, 3 acts, 2 hrs. 

(2Sc) 6 4 

Down in Dixie, 4 acts, 2 '-2 

hrs (25c) 8 4 

Dream That Came True, 3 

acts, 2J4 hrs (25c) 6 13 

Editor-in-Chief, 1 hr (25c) 10 

Enchanted Wood, 1J4 h.(33c).Optnl. 
Kveryyouth, 3 acts, 1J4 h. (25c) 7 6 
Face at the Window, 3 acts, 2 

hrs ■ (25c) 4 4 

Fifty-Fifty, 3 acts, 2 hrs. (35c) 6 8 
For the Love of Johnny. 3 

acts, 2K hrs (3Sc) 6 3 

Fun on the Podunk Limited, 

ly^ hrs (23c) 9 14 



M. F. 

Her Honor, the Mayor, 3 acts, 

2 hrs. (25c) 3 3 

High School Freshman, 3 acts, 

2 hrs (25c) 12 

Indian Days, 1 hr (50c) 5 2 

In Plum Valley, 4 acts, 2]/^ 

hrs (25c) 6 4 

Jayville Junction, 1% brs.(25c)14 17 
Kicked Out of College, 3 acts, 

214 hrs (25c)10 9 

Kingdom of Heart's Content, 3 

acts, 2J4 hrs (25c) 6 12 

Lady of the Library, 3 acts, 2 

hrs ..(2Sc) 5 10 

Laughing Cure, 2 acts, 1J4 hrs. 

(25c) 4 5 

Lighthouse Nan, 3 acts, 2}4 

hrs (25c) 5 4 

Little Buckshot, 3 acts, 2J4 hrs. 

(25c) 7 4 

Little Clodhopper, 3 acts, 2 

hrs (25c) 3 4 

Mirandy's Minstrels. . . . (25c) Optnl. 
Mrs. Tubbs Does Her Bit, 3 

acts, 2J4 hrs (25c) 7 7 

Mrs. Tubbs of Shantytown, 3 

acts, 21/4 hrs (25c) 4 7 

Old Fashioned Mother, 3 acts, 

2^ hrs (25c) 6 6 

Old Maid's Club, XVi hfs.(2Sc) 2 16 
Old Oaken Bucket, 4 acts, 2 

hrs (25c) 8 6 

Old School at Hick'ry Holler, 

1^ hrs (25c) 12 9 

On the Little Big Horn, 4 acts, 

21/2 hrs (25c) 10 4 

Poor Married Man, 3 acts, 2 

hrs (25c) 4 4 

Prairie Rose, 4 acts, 2;^ h.(25c) 7 4 
Real Thing After All, 3 acts, '\ 

2% hrs (35c) 7 9 

Rustic Romeo, 2 acts, 2 54 

hrs (25c) 10 12 

Ruth in a Rush, 3 acts, 2% 

hrs (35c) 7 9 

Safety First, 3 acts, 

2'^ hrs ....(25c) 5 5 

Pivageland, 2 acts, 2>4 hrs. (50c) 5 5 
Southern Cinderella, 3 acts, 2 

hrs. (25c) 7 

Spark of Life, 3 acts, 

2 hrs (2Sc) 4 4 

Spell of the Image, 3 acts, 2J4 

hrs (25c)10 10 

Star Bright, 3 acts, Z^A h. (25c) 6 5 
Those Dreadful Twins, 3 acts, 

2 hrs (25c) 6 4 

Thread of Destiny, 3 acts, 2'^ 

hrs (25c) 9 16 

Tonv. the Convict, S acts, 2>4 

'hrs (25c) 7 4 



T.S.DENISON&COMPANY,PubIishers,154W. Randolph St., Chicago 



THE LAST REHEARSAL 



A COMEDY IN ONE ACT 



IRENE JEAN CRANDALL 

AUTHOR OF 

'Hands All Round," "For Freedom," "The Lost Love," "Beyond 
the Gate," "The Fairy Woods" and Other Plays. 




CHICAGO 

T. S. DENISON & COMPANY 

Publishers 



THE LAST REHEARSAL 



Originally produced by the Chicago Dramatic Society at Sinai 
bocial Center, in Chicago, on the evening of March 28, 1917 with 
the following cast: ' 

(Named in order of appearance.) 

Margery Patterson. t/ t . 

I he Jiigoiiie 

Miss Emily Taft. 

Harold Spaulding . t, r 

^ he Lover 

Mr. James Carlin Crandall. 

AI. Forbes-Smith ... r/,. e/ ir 

^ he 6 tage Manager 

Mr. William Ziegler Nourse. 

Doris Street t/ d; • , 

iUrs. Matie Cadwalader Donnally 

Isabel Brookins r/,^ t .^^- t j 

i- he Leading Lady- 
Miss, Caroline Kohl. 



TiME~The Evening Before the Amateur Performance of 

a Play. 

Place— ^ Room Arranged for a Rehearsal. 

Time of PLAYiNc-^Z^o/r/ Twenty-five Minutes. 



COPYRIGHT. 1919. BY IRENE JEAN CRANDALL. 

OCT 29 1919 



^ 'Q 0,. u 5 2 b 7 S 



^\0 



THE LAST REHEARSAL 



COSTUMES AND CHARACTERISTICS. 



Isabel — Pretty, spirited and wilful. She is about twenty. 
A beautiful evening gown and wrap. 

Doris — High-strung, earnest and determined. She is 
about twenty-five. Stylish street suit and hat. 

Forbes-Smith — Self-important and .autocratic. He is 
about thirty. Striking business suit and white spats. He 
wears a flower in his button hole and carries a cane and 
gloves. 

Margery — Sweet and seventeen. A pretty party gown 
and evening wrap. 

Harold — Good-looking college chap of twenty-one. Even- 
ing clothes. 



PROPERTY LIST. 

A small table and four or five chairs. 

Papers on table. 

Box of candy for Harold. 

Manuscripts for Doris and Harold. 

Large feather fan and letter for Isabel. 

Cane, gloves and flower for Forbes-Smith. 



Note — The play can be given with or without a stage, in a 
theatre, hall, church, studio or private home. If the entrances 
cannot be made from the side or back, the players can come through 
tlie audience. 

STAGE DIRECTIONS. 



R. means right of stage ; C, center ; R. C, right center ; 
L., left ; / E., first entrance ; U. E., upper entrance ; R. j E., 
right entrance, up stage, etc. ; up stage, away from foot- 
lights ; down stage, near footlights. The actor is supposed 



to be facing the audience. 



THE LAST REHEARSAL 

Scene: A room arranged for the rehearsal of an ama- 
teur performance. There are four or five chairs and a 
small table. Properties are strewn about and everything is 
in disorder. The table is left of the Center, a chair door R. 
and another chair door L. Near the table is a small cha.r 
iJvat can be easily moved. 

At rise of curtain there is no one on the stage. 

Harold {off stage). Let me open the door for yon. 

Margery {off stage). Oh, thank you. 

Margery and Harold come in gaily. IMargery is sivect 
and seventeen. Harold is a zvtll set-up college chap of 
tzventy-one. Harold helps Margery take off her evening 
wrap, revealing a pretty frock. 

Harold {offering her a box of candy). Here's some- 
thing for you, 

Margery. Oh ! Thank you. {With a smile.) You might 
open it for me. (Harold opens the box and Margery takes 
a piece of candy. IMargery, turning slowly to display her 
gown). Do you like my gown? 

Harold. I Hke you, Margery. You're adorable in it. 
(Margery glances up at him zvifh a look of demure co- 
quetry. ) 

Margery. I had it made especially for the play. {Look- 
ing around.) We're early. 

Harold. I'm glad because I can have a few minutes 
alone with you before the others come. 

Margery {sitting down and looking disconsolate). I 
feel a little sad-like tonight. 

Harold. Do you? Why? 

Margery {wistfully). Oh, I don't know. I think it must 
be because this is the last rehearsal. I'll be lonesome when 



THE LAST REHEARSAL 5 

it's all over. You come to know people so well when you 
rehearse with them night after night. 

Harold. Yes, it's almost as good a test of the disposi- 
tion as traveling. 

Margery. I've heard that lots of romances start that 
way. 

Harold. At rehearsals. 

Margery (shyly). I meant traveling — on trips. 

Harold. Oh, I was thinking of rehearsals. It has been 
awfully jolly, hasn't it? 

Margery. Yes — seeing so much of — folks. 

Harold. Folks? Of course, you mean Isabel, Miss 
Street and Forbes-Smith. 

Margery (shyly). Well — not exactly. (She gives Har- 
old an alluring glance.) 

Harold (leaning over her). Have you cared a little bit 
about seeing me? 

Margery. A little. 

Harold. Do you lo — like me, Margery? 

Margery. You know what I say in the play. 

Harold (impatiently). Oh — the play — 
■ ]\Iargery. In the play — 

Harold. The play be hanged. (Leaning over her). I 
mean really. 

]\Iargery (sivcetly). Yes — really, too. Somehow, I feel 
as if something were going to happen tonight. 

Harold (eagerly). Do you? So do I. 

Margery (jumping up nervously) . The others are late. 
I wonder if Miss Street will come. Wasn't she angry last 
night because Isabel wouldn't play her part the way it was 
written ? 

Harold. Well, you can't blame Miss Street. Naturally 
an author wants her play given as it is written. 

Margery. But Isabel always has her own way about 
everything and she will never give in to Miss Street — never. 
You know that Isabel always plays the leading part and 
everybody says that her acting is perfectly wonderful for 
an amateur. 



6 THE LAST REHEARSAL 

Harold. I know somebody who is a much sweeter Httle 
actress. 

Margery (innocently). I wonder whom you mean. 

Harold. Some things go without saying. 

Margery, Yes — some of the very lovehest things of all 
we — that is — one can't say out — you — ^^'ou just feel them, 

Mr. Forbes-Smitii comes in with an air of importance. 
Margery and Harold start self-consciously. Mr. Forbes- 
Smith is a young man of thirty zvith an autocratic manner. 

Forbes-Smith, Good evening. (Shakes hands with 
Margery and Harold.) Miss Brookins and Miss Street 
not here yet? 

Harold. Not yet, Mr. Forbes-Smith. 

Margery, No, we're all alone — that is — we were, 

Forbes-Smith (briskly at center). Well, I hope they will 
not be more than an hour late tonight. We have a good 
evening's work before us if we are going to make this thing 
go ofif decently tomorrow night. (Takes the candy and pa- 
pers from the table and straightens things up.) Amateurs 
have no idea of the importance of promptness and details. 
That's why these private theatricals lack snap. Now, when 
I was in the profession we were fined for being late. 

Harold. Were you ever fined? 

Margery. Were you on the stage long? 

Forbes-Smith (proudly). A year and two months. 
Great experience ! So you see I know something about real 
acting. H you are in the profession you have to toe the 
mark. There's some discipline there. 

Margery, But you couldn't discipline Isabel, could you? 
She never does anything she doesn't want to. Her mother 
believes in letting her develop her individuality. 

Forbes-Smith. Of course. Miss Brookins has the star 
part and we have to make some concessions to her. Even 
on the stage the star has things very much her own way. 
(Harold, at the back, is secretly studying his lines.) 
Spaulding, what are you doing? 

Harold (starts). I — I — 

Forbes-Smith. Don't you know your lines yet? 



THE LAST REHEARSAL 7 

Harold (guiltily). I did know them before I came — but 
something has knocked them clean out of my head. I 
thought I would brush up a bit. 

Forbes-Smith. Remember that you appear before an 
audience tomorrow night. 

Margery. I just get trembly all over when I think of 
facing an audience. I can feel the shivers run up and down 
my back now. 

Harold {reassuringly). Never mind, IMargery, I'll help 
you. 

Doris Street comes in zvith a manuscript and a very 
determined look. She is about tzvcnty-five, quick, nervous 
and high-strung. 

Doris. Good evening. 

Forbes-Smith. Glad to see you, Miss Street. We are 
just waiting for Miss Brookins. As soon as she comes we'll 
get to work. 

Doris (coldly). Yes, we usually wait for Miss Brookins. 
(She seats herself in a chair to the left, near the front.) 

Forbes-Smitii. I see you've brought your manuscript. 
That's good. I mislaid my copy. 

Doris (zsjith a sigh). Yes, I have brought my manuscript 
and hope to have this play given as it is written. 

Forbes-Smith. Well, you know, Aliss Street, some little 
changes — 

Doris (scornfully). Little? 

Isabel Brookins comes in wearing a beautiful evening 
zvrap. She is about tiventy, pretty, spirited and zvith an 
imperious air. Isabel and Doris exchange cold glances, 
but do not speak to each other. 

Isabel (szveetly). Oh, were you waiting for me? You 
know I never can remember the time. Mother says that it 
is my temperainent. 

Forbes-Smith (With deference to Isabel). We haven't 
waited long. Miss Brookins. (Forbes-Smith gallantly 
helps her to take off her zvrap. She zvcars a lovely evening 
gozvn.) 



8 THE LAST REHEARSAL 

Isabel. I would have been here sooner if it hadn't been 
for this gown. It didn't come from the dressmaker's until 
half an hour ago, and I couldn't come to a dress rehearsal 
without the dress. 

Margery {sympathetically). Of course not, Isabel. I 
had mine made just for the play, too. 

Isabel (looking at Margery's dress with a patronising 
air). Quite a pretty frock. Do you think mine suits my 
temperament? 

Margery. Oh, yes — it's a peach of a gown. 

Harold. A cling-stone. 

Doris (scornfully). Your dresses seem more important 
than the play. 

Forbes-Smith. ]\Iiss Street, many successful plays are 
fashion shows — girls and gowns, you know. 

Isabel. Ever since I consented to be in the old play, 
I've been planning how I would dress the part. 

Doris. Undress it, you mean. 

Forbes-Smith (a little impatiently). Come, come, young 
ladies, we must rehearse. We have lots to do this evening. 
(Pausing to think.) Let's see. We'll take the third act 
first — that's our weakest point — and then we'll run through 
the whole performance just as we are going to give it to- 
morrow night. Miss Brookins, you open the third act with 
the letter scene. (Rearranging a chair.) Now this chair 
will be the desk where you find the letter. Tomorrow the 
real desk will be sent up. 

Isabel (pouting). I wish you had things ready tonight. 
It would make it so much easier to act. With "my tempera- 
ment these things are very disturbing. 

Doris (under her breath) . Temperament — temper. 

Forbes-Smith. I know. I know, but you must use your 
imagination. This is the window through which you over- 
hear the conversation that confirms your suspicions. Keep 
the location in your mind so that you will stand in the right 
place. The desk is to the right of that. Now — let's begin. 
(To Margery, who is talking with Harold R. iip stage).- 
Margery, please. 



THE LAST REHEARSAL 9 

Margery {starts and comes forward) . Yes, Mr. Director. 

Forbes-Smith. Are you ready for the curtain? 

(Isabel goes over to the chair-desk and begins to search 
for something. Doris watches every move. Isabel finds 
a letter, opens it, reads it, crumples it tip and then throzvs 
it down. She sinks into a chair near the table and buries 
her head in her arms. Margery comes up sliylv and with 
stage consciousness. Isabel starts and looks up.) 

Isabel (tragically). Oh, sister, sister — he is false — my 
heart is hroken. 

^Margery. What has — 

Isabel (interrupting Margery). What has he done? Ah, 
if you only knew. Oh, the bitterness, the terrible bitterness 
of this discovery. 

Margery. Tell me what — 

Isabel. Tell you what I have learned? This morning I 
was happy in my blissful ignorance. I was like a bird sing- 
ing in the tree all unconscious of the wicked snare below. 
And now this awful revelation has come upon me. 

Margery. Oh — do — 

Isabel. Sister, do you ask me what it is? (Picking up 
the letter.) Read this letter. (^Margery takes the letter and 
examines it.) 

]\Iargery. a woman's handwriting. 

Isabel. Yes, the very hooks on her qs show her to be 
a dangerous, designing woman. 

Margery. She Avrites — (begins to read the letter aloud). 
Dear Boy : — I — 

Isabel (interrupting) . Give me the letter. I will read it. 

Doris (unable lo restrain herself longer). That is not 
the way it is written. 

Isabel. Well, it is the way I learned it and that is the 
way I am going to play it. 

Doris, You don't give Margery a chance to speak her 
lines. You take her speeches away from her. 

Isabel. Since I have the star part I ought to have most 
of the lines. 

Forbes-Smtth. That's true, ]\Iiss Street. It is custom- 



10 THE LAST REHEARSAL 

ary for the star to appropriate lines here and there. It's 
always done on the American stage. 

Doris. I want the lines given as I wrote them or not 
at all. 

Isabel. The way I say them is much better. It makes 
the meaning clearer. 

Doris. That is not my meaning. 

Isabel. Well, it's what the character means. 

Doris {indignantly). Don't I know what my own char- 
acters mean? 

Isabel. Not so w^ell as the actress who plays the part. 

Doris (excitedly). I appeal to you, Mr. Forbes-Smith. 
Hasn't the author a right to ask to have her lines played as 
they are written? 

Forbes-Smith. I am sorry, Miss Street, but if you had 
ever been in the profession {zvith pride) as I have, you 
would know that plays are never given as the author writes 
them. The actors make changes here and there, the stage- 
manager takes the whole play to pieces and puts it together 
again and sometimes the electric light men take a hand. 

Doris. But doesn't the playwright make the play? 

Forbes-Smith. Certainly not. Of course, the play- 
wright furnishes a few ideas — plot, characters, dialogue — 
but that's a small part. 

Doris (facing the others in indignant protest). Small 
part, indeed ! I have lain awake at night thinking this out, 
I have worked over every word of it — and now — you people 
change it all. Oh, why must a playwright submit to such 
treatment? 

Forbes-Smith (pompously). If you had had the pro- 
fessional experience I have — 

Harold (imitating Forbes-Smith's important air). A 
year and two months ! 

(Forbes-Smith gives Harold a look of withering scorn 
and then turns to Doris.) 

Forbes- Smith. As I was saying — if you had my pro- 
fessional experience, Miss Street, you would know that 
playwrights are often glad to have the actors contribute 



THE LAST REHEARSAL 11 

ideas. The authors need them. Many a dull play has been 
saved by a witty actor. 

Doris. And many a clever play has been ruined by a 
stupid — actress. 

Isabel (flaring up). Does she mean I'm too stupid to 
say her (sarcastically) "clever" lines? (Turning fo "Doris.) 
i\Iiss Street, you take yourself too seriously. (With scorn- 
ful amusement.) I believe this is your first little play. 

Doris. And the last I will write for you. 

Forbes-Smith. We are losing time. Miss Brookins, 
let's go on with the rehearsal. (Isabel picks up the letter 
and becomes tragic.) 

Isabel. Oh, sister, sister — he is false. My heart is 
broken. Oh, the bitterness, the terrible — 

Doris (interrupting). "Terrible" is not in the manu- 
script. 

Isabel. It ought to be there. 

Doris. "Terrible" is not my word. That's not the way 
I write. 

Isabel. But that's the way I feel. Oh, the bitterness, 
the terrible — 

Doris (to Forbes-Smith). Please give me my manu- 
script. If my play is not to be given as it is written, I will 
not have it played at all. (Holds out her hand for the man- 
uscript and taps the floor with her foot.) 

Isabel (jumping, up). If I am not to act as I feel in- 
spired to act I will give up the part. 

Forbes-Smith (in despair, turning from one to the 
other). Miss Brookins — Miss Street, listen to reason. 

Isabel. I know my own mind and I will not be dictated 
to by anybody. 

Doris (standing near table center). I'll not have my 
play ruined to satisfy anybody's vanity. 

Isabel (gasps and tosses her head). Vanity — indeed. 
(Isabel crosses over to R. Margery goes up to her and 
tries to pacify her. Isabel turns from her angrily and 
Margery, half-frightened, retreats to the other side of the 
stage. She is followed by Harold.) 



12 THE LAST REHEARSAL 

Doris. I will not allow the play to be given tomorrow 
night unless it is played as I wrote it. 

Isabel. Then you can get someone else for my part. 

Forbes-Smith. You know that we can't do that. No 
one else could play it. 

Isabel (seating herself in a chair right front and fan- 
ning herself). I absolutely refuse to change my way of 
acting it. 

Doris. Then we will not give the play. 

Harold. But we can't throw the thing up. The ads are 
out and the tickets are sold. 

Margery. And it's for charity, too. 

Harold. The tickets have sold so well that I think we 
could give the old ladies at the Home a jolly treat. 

Margery. Yes, they are counting on it. I stopped in 
there this afternoon and they were so interested in the play 
and thought it was so good of us to get up this benefit for 
them. Old Mrs. Flannigan said, "Sure, dear, it's sweet of 
you young things to be thinkin' o' the like of us old-uns." 

Harold. Everybody's counting on it. After all the re- 
hearsals we simply can't give it up. 

Doris. We'll not give the play. 

Forbes-Smith (looking from Doris to Isabel). Miss 
Brookins, think of all your friends who are coming to see 
you tomorrow night. 

Isabel. I don't care. 

Doris. I cannot sacrifice my play. 

Margery. Think of the poor old ladies at the Home. 

Isabel. I don't care. 

Doris. My literary reputation is at stake. 

Harold. It isn't fair, by Jove. 

Forbes-Smith. Miss Street, do be reasonable. Can't 
you see how important it is to go on with this? 

Doris. Tell the petted Miss Brookins to be reasonable. 
(Forbes-Smith looks at Isabel, sulky, stubborn and impe- 
rious, zvith a mixture of admiration and fear.) 

Forbes-Smith. Miss Brookins — eh — Miss Brookins — I 
hope — 



THE LAST REHEARSAL 13 

Isabel. You needn't hope. My mind is made up. 

Margery (almost crying). Oh, what shall we do? What 
shall we do? 

Forbes-Smith. Miss Street, don't you think it is selfish 
of you to consider only your play and disappoint so many 
people? 

Doris. Why shouldn't the star make some sacrifices for 
the good of the whole? 

Forbes-Smith. Well, eh — that's diflferent. Somebody 
must yield and it is usually the author. 

Doris (coldly). That seems to be the general impres- 
sion. This time you will find that you are reckoning with- 
out your host. (Sits doivn at table. Forbes-Smith stands 
perplexed. Then a light comes into his face and he goes 
up to Margery and whispers something in her ear. She 
smiles and nods. Margery goes up to Isabel and sighs.) 

Isabel. WHiy do you sigh? 

Margery. Because our lovely new gowns will be wasted. 
Nobody will see us in them. And yours is so pretty, Isabel. 
It's the rnost becoming gown you ever had. Don't you 
think so, Mr. Forbes-Smith? 

Forbes-Smitii (looking at Isabel^s dress zvith admira- 
tion). The color — the soft clinging folds — it's stunning, 
there's no doubt of it. What a shame she is not going to 
appear in it tomorrow night. 

Isabel (softening a little). 1 don't care. 

Forbes-Smith. Well, let's go home, since we're going 
to give the thing up. It's a pity, too, because it's a good 
play and I wanted Miss Street's friends to see what a clever 
writer she is. 

Doris. I'm sure I would never recognize my own play 
as Miss Brookins insists upon playing it. 

Forbes-Smith. Someone has said, "It is a wild play- 
wright who knows his own play." You ought to be thank- 
ful if you recognize a line here and there. 

Doris (moaning) . Oh, my beautiful lines are ruined. 

Forbes-Smith (impatiently). Let's go hojne. (He goes 
for his hat, cane and gloves.) There is no use talking 



14 THE LAST REHEARSAL 

about it. The matter's settled. There's to be no play to- 
morrow night. Spaulding, you'll have to return the money 
for the tickets and send away the people when they come to 
the show. 

Harold. Beastly job. 

Forbes-Smith (emphatically). I'm going. {Goes out. 
Harold and Margery whisper in the background. Doris 
looks at her precious manuscript with a stern expression. 
Isabel sits moodily thinking. She fronms. She rearranges 
the folds of her dress. She smiles.) 

Isabel {to Harold). Harold. (Harold, startled in the 
midst of his conversation zvith Margery, comes fonvard 
hastily.) 

Harold (like a soldier at attention). Here. 

Isabel. Call that young man back. 

Harold. Sure. (He goes to the door and calls.) 
Forbes-Smith. 

Forbes-Smith re-enters. 

Forbes-Smith. Did you want to see me? 

Isabel. Yes. Do you think I am going to spend all this 
time learning a part and getting a new gown and then not 
act? 

Forbes-Smith (in exasperation). Well, what are you 
going to do ? 

Isabel (rising). Say the old lines to please the author 
and wear this gown tomorrow night. (Forbes-Smith looks 
relieved. Doris sighs happily. Harold p^tts his arm around 
Margery.) 

Quick Curtain. 



An Old Fashioned Mother 

By WALTER BEN HARE. 
Prfce, 25 Cents 

The dramatic parable of a mother's love, In 3 acts; 6 males, 
6 females, also the village choir or quartet and a group of silent 
villagers. Time, 2i/4 hours. One scene: A sitting room. A play 
I of ' righteousness as pure as a motlier's kiss, but with a inoral 
, that will be felt by all. Contains plenty of good, wholesome 
- comedy and dramatic scenes that will Interest any audience. 
Male Characters: The county sheriff; an old liypocrite; the selfish 
elder son; the prodigal younger son; a tramp and a romical coun- 
try boy. Female Characters: Tlie mother (one of the greatest 
sympatlietic roles ever written for amateurs); the village belle; 
tlie sentimental old maid; tlie good-liearted hired girl; a village 
gossip and a little girl of nine. Especially suited for church, 
Sunday sclaool, lodge or school performance. 

SYNOPSIS. 

Act. I. — The Good Samaritan. Aunt Debby's farmhouse In late 
March. Tire Widder rehearses the village choir. Sukey in trouble 
with the old gray tabby cat. "She scratched me. I was puttin' 
flour on her face for powder, jest like you do!" Lowisy Custard 
reads her original poetry and Jerry Gosling drops in to see if 
there are to be any refresliments. "That's jest what maw says!" 
Lowisy and Jonali pass the fainting tramp by tlie wayside and 
Deborali rebukes them witli the parable of the Good Samaritan. 
The tramp's story of downfall due to drinlv. "A poor piece of 
driftwood blown hitlier and tliither by the rougli winds of ad- 
versity." John, Deborah's youngest son, profits by tlie tramp's 
experience. "Froin this moment no drop of liquor shall ever pass 
my lips." John arrested. "I am innocent, and when a man can 
face liis God, he needn't be afraid to face the law!" 

Act II. — A Mother's Love. Same scene but three years later, 
a winter afternoon. "Colder'n blue and purple blazes and snowin' 
like sixty." Jeiry's engagement ring. "Is it a di'mond? Ef it 
ain't I'm skun out of two sliillin'." "I been sparlcin' her fer 
nigh onto four years, Huldy Sourapple, big fat gal, lives over 
at Hooliworm Crick." Deborah longs for news from John, the 
boy who was taken away. The Widder gossips. "I never seen 
sich a womerni" "You'd think she was a queen livin' in New 
York at the Walled-off Castoria." Lowisy is disappointed in 
Brotlier Guggs and decides to set her cap for Jonah. Deborali 
mortgages the old home for Charley and Isabel. Tlie sleighing 
party. "Where is my wandering boy toniglit?" The face at the 
window. Enoch and Jolm. "I've been weak and foolish, a thing 
of scorn, lauglied at, mocked at, an ex-convict with the shadow 
of the prison ever before me, but all tliat is passed. From now 
on, with the help of God, I am going to be a man!" 

Act III. — The Prodigal Son. Two years later. Deborah bids 
farewell to the old home before slie goes over the hills to the 
poorliouse. "The little home where I've lived since John brought 
nie home as a bride." The bitterest cup — a pauper. "It ain't 
riglit, it ain't fair." Gloriana and tlie baby. "There ain't notliin' 
left fer me, nothin' but the poorhouse." The sheriff comes to take 
Aunt Deb over the hills. "Your boy ain't dead. He's come back 
to you, ricli and respected. He's here!" The return of the prod- 
igal son. Jerry gets excited and yells, "Glory Hallelujah!" The 
joy and happiness of Deborah. "Honor thy father and thy 
motlier that thy days may be long in tlie land." 

T. S. DENISON & COMPANY, Publishers 

154 W. Randolph Street, CHICAGO 



Safety First 



By SHELDON PARMER 

Price, 25 Cents 

Farce -comedy, in 3 acts; 5 males, 5 females. Time, 2% hours. 
Scenes: A parlor and a garden, easily arranged. A sprightly 
farce full of action and with a unique plot teeming with unex- 
pected turns and twists that will make the audience wonder "what 
on earth is coming next." Behind tlie fun and movement lurks 
a great moral; Always tell the truth to your wife. The cast 
includes three young men, a funny policeman, a terrible Turk, 
two young ladies, a society matron, a Turkish maiden and Mary 
O'Finnigan, the Irish cook. The antics of the terror-stricken 
husband, the policeman, the dude and the Irish coolv start the 
audience smiling at 8:15 and send them home with aching sides 
from the tornado of fun at 10:40. Suitable for performance any- 
where, but recommended for lodges, clubs and schools. Not a 
coarse or suggestive line in the play. 

SYNOPSIS 

Act I. — Jack's 111 suburban home. A misplaced husband. "He 
kissed me good-bye at eighteen minutes after seven last night, 
and I haven't laid eyes on him since." The Irisli maid is full 
of sympatliy but she imagines a crime has been committed. 
Elmer, the college boy, drops in. And tlie terrible Turk drops 
out. "Sure tlie boss has eloped wid a Turkey!" Jerry and Jack 
come home after a horrible night. Explanations. "We joined tlie 
Shriners, I'm the Exalted Imported Woggle and Jack is the Ba- 
zook!" A detective on tlie trail. Warrants for John Doe, Richard 
Roe and Mary Moe. "We're on our way to Florida!" 

Act II. — A month later. Jack and Jerry reported drowned at * 

sea. The Terrible Turk looking for Zulfika. The return of the t 

prodigals. Ghosts! Some tall explanations are in order. "I never » 

was drowned in all my life, was I, Jerry?" "We were lashed to t 

a mast and we floated and floated and floated!" A couple of f 

heroes. The Terrible Turk hunting for Jack and Jerry. "A Turk - 

never injures an insane man." Jack feigns insanity. "We are y 

leaving tliis roof forever!" Tlie end of a perfect day. j 

Act III. — Mrs. Bridger's garden. Elmer and Zuleika start on I 

their honeymoon. Mabel forgives Jack, but her mamma does not. J 

They decide to elope. Jerry's scheme works. The two McNutts. f 

"Me middle name is George Washington, and I cannot tell a . 

lie." The detective falls in the well. "It's his ghost!" Jack and ( 

Jerry preparing for the elopement. Mary Ann appears at the 
top of the ladder. A slight mistake. "It's a burglar, mum, I've 
got him!" The Terrible Turk finds his Zuleika. Happiness at last. 

Foiled, By Heck! 

By FREDERICK G. JOHNSON 

Price, 25 Cents 

A truly rural drama, in 1 scene and several dastardly acts; 
3 males, 3 females. Time, 35 minutes. Scene: The mortgaged 
home of the homespun drama, between sunup' and sundown. 
Characters: Reuben, a nearly self-made man. His wife, who 
did the rest. Their perfectly lovely daughter. Clarence, a rustic 
hero, by ginger! Olivia, tlie plaything of fate, poor girl. Syl- 
vester, witli a viper's heart. Curses! Curses! Already he has 
the papers. A screaming travesty on tlie old-time "b'gosh" drama. 

T. S. DENISON & COMPANY, Publishers 

154 W. Randolph Street, CHICAGO 



DENISON'S ACTING PLAYS 

Partial List of Successful and Popular Plays. Large Catalogue Free 



M. F. 

Trial of Hearts, 4 acts, 2% hrs. 

(25c) 6 18 

Trip to Storyland, 1^ hrs. (25c) 17 23 

Uncle Josh, 4 acts, 2% hrs. (25c) 8 3 
Under Blue Skies, 4 acts, 2 

hrs (25c) 7 10 

When Smith Stepped Out, 3 

acts, 2 hrs (35c) 4 4 

Winning Widow, 2 acts, V/i hrs. 

(25c) 2 4 

Women Who Did, 1 hr...(25c) 17 

FARCES, COMEDIETAS, Etc. 
Price IS Cents Each 

All on a Summer's Day, 40 min. 4 6 

April Fools, 30 min 3 

Assessor, The, 10 min 3 2 

Aunt Harriet's Night Out, 35 

min 1 2 

Baby Show at Pineville, 20 min. 19 

Billy's Chorus Girl, 25 min... 2 3 

Billy's Mishap, 20 min 2 3 

Borrowed Luncheon, 20 min.. 5 

Borrowing Trouble, 20 min.... 3 5 
Case Against Casey, 40 min... 23 

Country Justice, IS min 8 

Cow that Kicked Chicago, 20 m. 3 2 

Divided Attentions, 35 min... 1 4 

Family Strike, 20 min 3 3 

First-Class Hotel, 20 min.... 4 

For Love and Honor, 20 min.. 2 1 

Fudge and a Burglar, 15 min.. 5 

Fun in Photo Gallery, 30 min.. 6 10 

Getting Rid of Father, 20 min. 3 1 
Great Sledical Dispensary, 30 m. 6 
Great Pumpkin Case, 30 min.. 12 

Hans Von Smash, 30 min.... 4 3 
Initiating a Granger, 25 min.. 8 

Irish Linen Peddler, 40 min... 3 3 

Kansas Immigrants, 20 min... 5 1 

Lottie Sees It Through, 35 min. 3 4 

Men Not Wanted, 30 min 8 

Mother Goose's Goslings, 30 m. 7 9 

Mrs. Jenkins' Brilliant Idea, 35m. S 

Mrs. Stubbins' Book Agent, 30 m. 3 2 

Not a Man in the House, 40 m. 5 

Pair of Lunatics, 20 min 1 1 

Patsy O'Wang, 35 min....... 4 3 

Pat, the Apothecary, 35 min.. 6 2 

Persecuted Dutchman, 30 min. 6 .i 

Please Pass the Cream, 20 min. 1 1 

Second Childhood, 15 min.... 2 2 

Shadows, 35 min 2 2 

Sing a Song of Seniors, 30 min. 7 

Smith's Unlucky Day, 20 min.. 1 1 

Taking Father's Place, 30 min. 5 3 

That Rascal Pat, 30 min 3 2 

Too Much of a (jood Thing, 45 

min 3 6 

Turn Him Out, 35 min..^... 3 2 

Two Aunts and a Photo, 20 m. 4 
Two Gentlemen in a Fix, 15 m. 2 

Two Ghosts in White, 20 min. . S 



M. F. 

Two of a Kind, 40 min 2 3 

Uncle Dick's Mistake, 20 min.. 3 2 

Wanted a Correspondent, 45 ni. 4 4 
Watch, a Wallet, and a Jack of 

Spades, 40 min 3 

Whole Truth, 40 min 5 4 

Who's the Boss ? 25 min 3 6 

Wide Enough for Two, 45 min. 5 2 

Wrong Baby, 25 min 8 

VAUDEVILLE SKETCHES. MON. 

OLOGUES, ETHIOPIAN PLAYS. 

Price IS Cents Each 

Amateur, 15 min 1 1 

At Harmony Junction, 20 niln. 4 

Axin' Her Father, 25 min 2 3 

Booster Club of Blackville, 25 in. 10 
Breakfast Food for Two, 20 m. 1 1 

Cold Finish, 15 min 2 1 

Colored Honeymoon, 25 min ... 2 2 
Coon Creek Courtship, 15 rain. 1 1 
Coming Champion, 20 min.... 2 
Coontown Thirteen Club, 25 m. 14 

Counterfeit Bills, 20 min 1 1 

Darktown Fire Brigade, 23 min. 10 
Doings of a Dude, 20 min.... 2 1 

For Reform, 20 min 4 

Fresh Timothy Hay, 20 min . . 2 1 
Glickman, the Glazier, 25 min. 1 1 
Good Mornin' Judge, 35 min.. 9 2 

Her Hero, 20 min 1 1 

Hey, Rube ! 1 5 min 1 

Home Run, 15 min 1 1 

Hungry, IS min 2 

I-'ttle Miss Enemy, 15 min.... 1 1 
Little Red School House, 20 ni. 4 

Love and Lather, 35 min 3 2 

Marriage and After, 10 min.. 1 

Memphis Mose, 25 min 5 1 

Mischievous Nigger, 25 min.. 4 2 

Mr. and Mrs. Fido, 20 min 1 1 

Oh, Doctor! 30 min 6 2 

One Sweetheart for Two, 20 m. 2 

Oyster Stew, 10 min 2 

Ppte Yansen's Curl's Moder, lOni. 1 

Pickles for Two, 15 min 2 

Si and I, IS min.. 1 

Special Sale, 15 min 2 

Street Faker, 15 min 3 

Such Ignorance, 15 min 2 

Sunny Son of Italy, 15 min.. 1 

Time Table, 20 min 1 1 

Tramp and the Actress, 20 min. 1 1 
Troubled by Ghosts, 10 min... 4 
Troubles of Rozinski, IS min.. 1 
Two Jay Detectives, 1 5 min . . 3 
LTmbrella Mender, 15 min.... 2 
What Happened to Hannah, 15m. 1 1 

A great number of 

Standard and Amateur Plays 

not found here are listed in 

Denison's Catalogue 



T.S.DENISON&COMPANY,Publishers,154W.RandolphSt., Chicago 



LIBRflRY OF CONGRESS 



POPULAR ENTERTAINV 

Price, Illustrated Paper Covers, 




IN this Series 
are found 
books touching 
every ■feature 
in the enter- 
tainment field. 
Finely made, 
good p a p e r,_ 
clear print and 
each book has 
an attractive 
individual cov- 
er design. 
A Partial List 

DIALOGUES 

All Sorts of Dialogues. 

Selected, fine for older pupils. 
Catchy Comic Dialogues. 

Very clever; for young people. 
Children's Comic Dialogues. 

From six to eleven years of age. 
Country School Dialogues. 

Brand new, original. 
Dialogues for District Schools. 

For country schools. 
Dialogues from Dici^ens. 

Thirteen selections. 
Friday Afternoon Dialogues. 

Over 60,000 copies sold. 
From Tots to Teens. 

Dialogues and recitations. 
Humorous Homespun Dialogues. 

For older ones. 
Little People's Plays. 

From 7 to 13 years of age. 
Lively Dialogues. 

For all ages; mostly humorous. 
Merry Little Dialogues. 

Thirty-eight original selections. 
When the Lessons are Over. 

Dialogues, drills, plays. 
Wide Awake Dialogues. 

Original successful. 

SPEAKERS, MONOLOGUES 

Choice Pieces for Little People. 

A' child's Speaker. 
The Comic Entertainer. 

Recitations, monologues, dialogues. 
Dialect Readings. 

Irish, Dutch, Negro, Scotch, etc. 
The Favorite Speai<er. 

Choice prose and poetry. 
The Friday Afternoon Speaker. 

For pupils of all ages. 
Humorous Monologues. 

Particularly for ladies. 
Monologues for Young Folks. 

Clever, humorous, original. 



Monoio, 015 863 993 

Dramatic and humorous. 
Scrap- Book Recitations. 

Choice collections, pathetic, hu- 
morous, descriptive, prose, 
poetry. 15 Nos., per No. 35c 

DRILLS 

The Best Drill Book. 

Very popular drills and marches. 
The Favorite Book of Drills. 

Drills that sparkle with originalitv. 
Little Plays With Drills. 

For children from 6 to 11 years. 
The Surprise Drill Book. 

Fresh, novel, drills and marches. 

SPECIALTIES 

The Boys' Entertainer. 

Monologues, dialogues, drills. 
Children's Party Book, 

Invitations, decorations, games. 
The Christmas Entertainer. 

Novel and diversified. 
The Days We Celebrate. 

lintertainments for all the holidays. 
Good Things for Christmas. 

Recitations, dialogues, drills. 
Good Things for Sunday Schools. 

Dialogues, exercises, recitations. 
Good Things for Thanksgiving. 

A gem of a book. 
Good Things for Washington 

and Lincoln Birthdays. 
Little Folks' Budget. 

Easy pieces to speak, songs. 
One Hundred Entertainments. 

New parlor diversions, socials. 
Patriotic Celebrations. 

Great variety of material. 
Pictured Readings and Tableaux. 

Entirely original features. 
Pranks and Pastimes. 

Parlor games for children. 
Shadow Pictures, Pantomimes, 

Charades, and how to prepare. 
Tableaux and Scenic Readings. 

New and novel; for all ages. 
Twinkling Fingers and Sway- 
ing Figures. For little tots. 
Yuletlde Entertainments. 

A choice Christmas collection. 

MINSTRELS, JOKES 

The Black-Face Joker. 

Minstrels' and end men's gags. 
A Bundle of Burnt Cork Comedy. 

Monologues, stump speeches, etc. 
Laughland.via the Ha-Ha Route, 

A merry trip for fun tourists. 
Negro Minstrels. 

All about the business. 
The New Jolly Jester. 

Fun ny stories, jokes, gags, etc. 

Larse illustrated Catalosue Free 



2# 



T.S.DENISON & COMPANY, Publishers,154 W.Randolph St.. Chicago 



